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@Full Range , my doughter arrived in Sydney last night , she went to the sidney opera house and sent me a pic , it´s early springtime downunder now. She will stay a couple of weeks in australia , but I ´dont know her schedule . I´ll keep you updated

https://columbiamo.craigslist.org/ele/d/jefferson-city-klipsch-cornwalls-iv/7662881877.html No affiliation.

Just listen to them for awhile before you do anything. Stock La Scala’s sound great.

Hahaha....got it!

Goals brother, gotta have goals. Then you too can have piles! 💪 😂 😂😂😂

To quote Ash:" Oh my god, it´s growing!"

Not planning on removing any older DIY, upgrade threads, I’m planning on trying to move those all to an archived section where they will be available to view but not respond to (it creates confusion as to what’s currently allowed, what isn’t). That’s a project for a different day. There isn’t any problem at all with refinishing or cabinet repair topics. There have been several since this thread was posted and pinned. Yes. Unfortunately it became a game with some to respond to any post about a set of older speakers to slip in a comment about capacitors or networks from 3rd party vendors. These responses had nothing whatsoever to do with the original posts. This was after Klipsch went to considerable time and expense to develop, test, measure kits for many of the Heritage networks and keeping the original sound along with approving an authorized supplier of those kits and an authorized rebuilder. Unfortunately, several attempts to quell the “games” of slipping in unsolicited gratuitous recommendations for 3rd party products failed. It was just simply easier to prohibit discussion about non-approved 3rd party vendors on Klipsch’s Forum. You are absolutely correct, PWK would not be pleased, but not in the sense you mean. The historical record is clear (documents, letters, Dope From Hope articles, etc.) that PWK would have gone ballistic about vendors claiming to have “improved” balancing network designs, capacitor kits that “meet factory specs”, offered build your own speaker kits that used the name of two of this trademarked speakers and many other examples. In short, he would have never allowed a speaker manufacturer/competitor’s speakers to be discussed or their notions of what an upgrade or improvement might be to his designs. PWK designed, measured/tested his own upgrades and offered them. Nothing he offered in terms of an update/improvement/upgrade came without a detailed explanation of the engineering and testing that led to the change, and what the results of the changes were. Klipsch continues with this upgrade philosophy as seen with the recent Forte III to IV kits. I think you will see even more upgrades coming from Klipsch. If people want to pursue a different path on what they do with their speakers that’s fine. Do it on the DIY platforms. if people have inherited or purchased an older set of speakers they want to restore to original, they are most welcome to post here and they will get the help to accomplish that. I’m sorry to hear of your disappointment, so I have provided some of the background to help shed some light on the decision.

Hmmm ... also shows up in Springfield, MO craigslist. Another scam?

Gonna let her know , thanx for your very kind invitation 🙂, please be so kind and send me your phonenumber again as I can´t find it in our long list of private pm´s .

Im sure she will have a great visit If she comes up to Brisbane I generally don’t work during the day so she can call me I can see the city from my house so I’m really close at 7 Km distance by road

WDCB FM Monday 10pm Central time House Party Program, 1 Hr Playlist and playable program will be up as soon as it finishes https://wdcb.org/archive I noticed someone on here liked banjo This is golden oldies blue grass and country good stuff TIME: 10:32 PM TITLE: "Send Me the Pillow" ARTIST: The Crowe Brothers ALBUM: 40 Years Old SEARCH TO PURCHASE TIME: 10:29 PM TITLE: "Crying Holy" ARTIST: JD Crowe and the New South ALBUM: Crying Holy SEARCH TO PURCHASE TIME: 10:26 PM TITLE: "In Despair" ARTIST: Dale Ann Bradley ALBUM: Somewhere South of Crazy SEARCH TO PURCHASE TIME: 10:22 PM TITLE: "Molly and Tenbrooks" ARTIST: Tony RIce ALBUM: Bluegrass Album Band SEARCH TO PURCHASE TIME: 10:19 PM TITLE: "The Farmer's Cursed Wife" ARTIST: Tim O'Brien ALBUM: Oh Boy! Oh Boy! SEARCH TO PURCHASE TIME: 10:15 PM TITLE: "I Gotta Move" ARTIST: Tim O'Brien ALBUM: Pompadour SEARCH TO PURCHASE TIME: 10:11 PM TITLE: "Poor Country Boy" ARTIST: Laurie Lewis ALBUM: The Oak and the Laurel SEARCH TO PURCHASE TIME: 10:09 PM TITLE: "Poor Monroe" ARTIST: Heath Whitley and Ricky Skaggs ALBUM: Second Generation SEARCH TO PURCHASE TIME: 10:05 PM TITLE: "Poor Little Rich Man" ARTIST: Don Rigsby ALBUM: Empty Old Mailbox SEARCH TO PURCHASE TIME: 10:00 PM TITLE: "Poor Man's Pride" ARTIST: Dale Ann Bradley ALBUM: Kentucky for Me SEARCH TO PURCHASE

My first contribution. I think? I use this thread from time to time. It got me on a tangent and I really liked this one.

No Sir, no piles for me! 😄 What I do know: The books above my LPs are definitely temporary. Got a load of new and used LPs on the way. 😂

https://www.discogs.com/release/17251663-Foo-Fighters-Medicine-At-Midnight

https://www.discogs.com/release/16771695-Electric-Light-Orchestra-Face-The-Music

Thanks for asking @Marvel. Yes I did, but it was a lot of work and I postponed the project a bit. Last yeoche I bought a good condition Quad 606 very cheap. It can drive 4 ohm speaker and it is another requirement for the Jubilee active project. I will get back to you as soon as it works, more likely in late fall. As an alternative to the transformers, I also plan to try XLR to RCA wiring without transformers, both of which I will try. I got an article by a kind forum member that shows all the different wiring, including the one for the Yamaha DSP output op-amps to drive an RCA input amp.

Well, Jefferson City, MO and Springfield, MO are only a couple-hundred miles apart. But Gainesville is in Florida.

I stock T2A’s but I am limiting what I have left for repair/replace and new builds. The sound is different between the T2A and 3636 because the 3636 increases the working inductance in parallel with the driver (much larger core). This changes the slope below Fc. The T2A in parallel with the K-55-V creates a 12dB/octave midrange. I’ve learned that no one cares. Any change in sound constitutes an “upgrade”. ¯\_(ツ)_/¯

I have a pair of Klipsch Rf 82 speakers and would like to know if anyone has used a tube amp with them. I'm particularly interested in the low amp Decware models. I recently bought a Decware zrock2 and am using it with my turntable and Oppo 203 and it really helped the sound. I'm presently using a Marantz 7007 with the original xpa-3 by Emotiva(200 watts).

yes they yanked pricing rules on these to get rid of them so we can do whatever we want. McLaren licensing deal is expiring, had to do something.

Send a PM to @Deang He may have a pair of new T2A's he could sell.

This video is a Mockumementary Funny Rutlels with funny man Eric Idle You will have a laugh as the Beatles did and said so

Seems my old JVC DVD player sounds much better than anything else in the low-buck setup. If you're going the digital signal - to - DAC route, I'd bet the actual disk-reader would count for a lot less at that point.

Hey Dell for me it sound like that the polymer diafragm is damaged and needs to be changed . I´ve seen origin K 84 K spare drivers on ebay usa. Have a look there. BTW you be good advised to order two diafragms to prevent a further disfunction. As well I think that the caps on the board shall be exchanged as well. Don´t have the values from the caps in my mind . Order from JEM , the values are shown below the caps on the board.

https://www.discogs.com/release/369589-Manowar-Kings-Of-Metal

Thanks a lot for the answers. In the meantime I visited a few hi-fi shops nearby and talked a bit with salesmen. Two things positive about CD players came up: 1 - standalone player can be used in "conservative" setup - without a DAC, 2 - good CD player can sound very well. I tried the entry level Yamaha CD player and Musical Fidelity M3 and M6 CD players, all in the same system. The difference going up the scale was pretty noticeable to my ears. Unfortunately, the difference in prices are very noticeable also. As regards the transports, all good ones are usually more expensive than CD players. However, the guy using this (https://www.advanceparis.com/en/produit/x-d500/) says it is better than many expensive CD players he had in his system.

I know the feeling 🫠

They stink of rat pee plus one cracked, Klipsch used long staples to attach them. My Frankenschorns will have Klipsch speakers and AA crossovers with updated caps and the emblem that will be as close to authentic as I can get. Easy part is done, now to the cutting the pieces at fitting up. Looking at the options for enclosing the sides while I rebuild right now.

You have been warned! Box set just dropped @ 150$. Better jump!

Had a couple visions the other day and this morning over coffee they surfaced. Enjoy! Stones? Yup, dropping October 20th "Hackney Diamonds" Supposed to be a great lp. Pre-order on their site or fight the crowds! They ain't done yet!

Still cool and crank it to 11 without distortion...

Hello Klipsch brothers and sisters. I have been dealing with Hifi / High End for over 40 years and have also been active in German forums for years. You buy good and expensive audio equipment, get it demonstrated at your dealer and wonder why the components you bought sound different at home than in the showrooms of your hifi dealer. For this reason I have once summarized the subject of room acoustics and make this information available. For some people this is nothing new and generally known. For others however interesting because they have never thought about it before. I hope that I have described it so that it is generally understandable. I apologize in advance for any orthographic or translation mistakes. The listening room has a decisive influence on the sound experience. Even the ancient world knew about the influence of acoustic laws on sound and speech intelligibility. The shape of the amphitheatre did not arise from arbitrariness. Our cuboid living rooms with their parallel walls, on the other hand, are not ideal and produce unwanted acoustic artefacts in the form of resonances and reflections, which have a decisive influence on the room acoustics and thus the sound experience. The room acoustics determine the reproduction quality Impulse response in a room. Clearly, the first reflections arriving with a delay can be seen. Sonic propagates in free space in a straight line, similar to light. The situation is different for sound propagation in partially or completely enclosed rooms, where the room boundaries reflect the sound to a greater or lesser extent. In a room not only the direct sonic of a sound source reaches the ear of the listener, but also manifold reflections from walls, ceiling and floor. If sonic waves hit a boundary surface, they are partly absorbed and partly reflected back into the room with a changed phase position and direction. These reflections create the impression of the room, which varies greatly from room to room and is not contained in the original music or sound recording. The acoustics of the room are defined by the direction, strength and frequency with which reflections reach the listener compared to direct sound. The mix of direct loudspeaker sonic and room acoustics results in the actual sound experience at the listening position. Due to the distortions of the room acoustics, the resulting reproduction pattern has a significant deviation from the reproduction pattern of the loudspeaker. The measured amplitude curves (a term from mathematics as well as physics and technology for the description of vibrations) of loudspeakers usually represent the sound pressure frequency response in free field and do not take into account reflections from walls, floor and ceiling. This makes sense, since there is little knowledge about the acoustic environment in which the loudspeaker is operated. The amplitude response therefore provides only unreliable information about how the loudspeaker will sound, since the important component of room acoustics is missing. Superposition of two oscillations with equal amplitude and frequency. At 180 degrees of phase difference a complete cancellation occurs. First reflections - also known as early reflections - determine what is commonly understood by the acoustics of a room. Reflections always occur when the propagating sound wave hits a surface in the living room and is reflected back to the listener. In general, the first reflections arrive relatively sporadically at the listening position in the first 50 ms after direct sound. The level of these first reflections strongly determines the primary sound impression of the room. With increasing time, the individual reflections coincide more and more and blur to a decaying reverberation.The problem with the reflections is that the reflected sound wave experiences a time delay due to the longer distance. The time delays compared to direct sound lead to a phase shift between the two sound components. The components of reflected and direct sound therefore overlap with different phase positions. When the two sound components are added together, mixed products are created in the form of new harmonic oscillations, which manifest themselves as cancellations or level increases in the amplitude curve. One also speaks of the so-called comb filter effect. In extreme cases in rooms with low attenuation, the reflection component can significantly exceed the direct sound from the loudspeakers and thus massively impair the quality of the reproduction. You can prevent too much reflection by moving the sitting position closer to the speaker or by taking the complicated route of damping highly reflective surfaces. It is also important that the loudspeaker has a radiation pattern that is as homogeneous as possible over the entire frequency band, so that the diffuse sound components are distributed more evenly over the frequency band. Direct & diffuse sonic field As the distance to the sound source increases, the location becomes worse. Direct sonic is the sound that reaches the listener in the direct path from the loudspeaker. In this context one speaks of the first wave front. Diffuse sonic with increasing distance from the sound source, the direct sound component decreases, while the diffuse sonic components increase. If practically only diffuse sound components are present, one is in the so-called diffuse sonic field. The incidence of the sound components is then equally probable and equally strong from all directions in space. A localization of the sonic source is practically no longer possible. In contrast to direct sonic, the level of diffuse sonic remains constant throughout the room. The sound level, however, is inversely proportional to the distance. With increasing distance, the direct sonic level becomes increasingly smaller. The point where direct and diffuse sonic are equally large is called the reverberation radius. A too large distance from the loudspeaker always results in a blurred sound image due to the high diffuse sonic components. The ideal seating position is therefore within the reverberation radius, which is calculated from the volume and the reverberation time of the room. It increases with larger volume, but decreases with longer reverberation time. If a sonic wave is reflected from one or more room boundary surfaces back to the starting point, a flutter echo can occur. The sound is thrown back and forth between the walls in rapid succession. This creates a kind of sound cycle that slowly decays only because of the partial absorption of the walls. At greater distances from the wall, a sequence of fast echoes with decaying level can be heard, at smaller distances from the wall a so-called sound echo is created, i.e. the sound impulse receives a kind of reverberation that is not contained in the original signal. Flutter echoes are generally perceived as disturbing and disguising. A flutter echo occurs especially when two reflecting walls are parallel to each other and the other directions in the room are more attenuated. To eliminate a flutter echo, one should either try to increase the absorption of one of the two opposite walls, e.g. by placing a curtain, or deflect the reflections in other directions with the help of diffusers and large partitions. Often simply changing the placement of the speakers or the sitting position helps. Standing waves Standing waves occur when half the wavelength or multiples thereof correspond to the width of the room. A stubborn problem that can be difficult to solve is the occurrence of so-called standing waves. Standing waves can also only occur between parallel walls. If the sound wave propagates between two parallel walls and is reflected vertically, a superposition of sound waves and their own reflection occurs. Standing waves can lead to complete cancellation or to pronounced resonance peaks, which cause an actual booming in the bass range. The wavelength of a standing wave is always an integral multiple of the room dimensions. In a five meter wide room a standing wave with a basic resonance of 35Hz will be created. In contrast to the advancing wave, however, there are stationary cancellations, i.e. a standing wave makes itself felt differently depending on the position in the room. However, if you use a weak horn loudspeaker, you may be able to benefit from this. One should avoid a sitting position exactly in the middle of the room, since this is where the bass usually disappears and one suddenly wonders why the Superbox, which just sounded so great in the shop, simply no longer has any low bass. A massive sofa not placed directly against the wall is still the simplest bass absorber and a practical countermeasure for standing waves. Even old-fashioned chests of drawers are quite effective. A systematic reduction of the resonance modes is possible with the so-called bass absorbers offered by various manufacturers. Bass absorbers can be adjusted to a specific frequency. However, this requires an acoustic analysis of the room to determine the frequency of the resonance. Improve acoustics Elaborate but effective - the suspended ceiling in pyramid shape The efficient means is to bypass parallel walls whenever possible. Sloping ceilings in attics or maisonettes are therefore traditionally very suitable for listening rooms. Otherwise, a tapestry can work wonders under certain circumstances. A sofa usually has a positive effect on the bass reproduction and acts as a real absorber for standing waves. However, better results are achieved with commercially available bass absorbers that are specifically adapted to the disturbing resonance range. Wall-mounted diffusers do not usually look very attractive, but in listening rooms they are justified and produce a more balanced sound thanks to the reduction of flutter echoes. Positioning the speakers If the loudspeakers are placed in a fair parallel position, the listener is reached by a lateral radiation that carries less direct energy. In addition, the reflection takes a shorter path than with direct response, so it reaches the ear earlier. This makes it harder for the ear to distinguish between sound source and reflection, which makes what is heard sound less precise. The loudspeakers are correctly set up when the Loudspeaker as acoustical source can no longer be localized. This means that the stage front ,depth and width can be clearly located between the L's and even mixing effects can be heard to the left and right of the speakers. The singer always stands in front of the band, at least during studio productions or on the same level with the band. The solos of certain instruments must be clearly locatable and delimitable.The whole sound spectrum should be balanced at the listening position, from brilliance to sub, and should not have any emphasis in certain FQ spectra, except for the sonic virtues attributed to them, e.g. ... "especially strong bass " . But drums and the bass, the instruments themselves, never tend to hum. Two-channel stereo system: (valid for slimline floorstanding Speakers like e.g. Klipsch RF7´s, RF 82, RP 280F , RP 8000 and others not for Klipsch Heritage Line like Forte , CW , LaScala, KHorn ) Figure 1 shows a typical speaker arrangement for a two-channel stereo system.a good starting point would be to form an equilateral triangle of the speakers and your listening position.depending on the size of the room and the distribution arrangement of the furniture,it may be advisable to increase or decrease the distance between the listening position and the line between the two speakers,but maintain a center position with approximately equal distance to both speakers.this will ensure the best stereo effect.Turning the speakers far away from each other slightly inwards towards the listening position will still give a good stereo effect. Stereo placement for wide sound reinforcement : If you are primarily interested in hearing the sound from any position in the room, rather than just from a specific seating area, you can move the speakers on adjacent walls far apart to form a large "L", which does not produce a very good stereo effect, but gives you a room-filling, well-balanced sound.If you now draw an imaginary line from the center of the two horns, the axes meet behind the head.This also requires that the listening point (sofa, couch, or easy chair) in the back area must have at least 3 feet or more distance from the imaginary back wall. Accordingly, the sound absorbers, if still necessary, are to be positioned differently. Digital room correction The foundations for so-called RCS (Room Correction System) were already developed in the eighties. However, only modern chip technology allows practical application. Meanwhile, there are a large number of suppliers of RCS. A number of loudspeaker integrate an RCS directly into their digital loudspeakers. Such solutions can lead to satisfying results especially in acoustically unfavorable living situations. Common to all variants is that the acoustic behavior of the room must first be determined with a measuring system and analyzed in the computer. Software then calculates a high-quality and very accurate correction signal for the room in question. During sound reproduction, the correction signal is included in the playback and the influence of the room acoustics is significantly reduced. However, the use of graphic equalizers, as was still common in the past, does not prove to be a good service. Even digital equalizers can only make level adjustments. Room acoustics, however, take place on the time level. Therefore, equalizers are not an effective way to correct room acoustic phenomena and lead to more problems than they solve. Conclusion The acoustic phenomena that result from the reproduction in rooms are manifold and have a decisive influence on the quality of the audio reproduction. Even excellent HiFi components cannot show their capabilities if the room acoustics destroy a high-quality reproduction by flutter echoes, comb filter effects and standing waves. In fact, room acoustics is the most important parameter of all. A circumstance that is often ignored by equipment manufacturers and specialists. After all, no one wants to hear that only in an adequate listening room do the high-end power amplifier and high-gloss loudspeakers really make sense and can develop their qualities appropriately. If a specialist dealer addresses the difficult subject of room acoustics in the home and can perhaps even offer some possible solutions, one can certainly have confidence in his seriousness. However, realizing an improvement in room acoustics by means of structural measures will often quickly reach its limits or come into conflict with other living requirements. As mentioned above, modern room correction systems with sophisticated software can help to solve difficult room problems. I hope to have provided the Klipsch Community with a factual basis of information.

So to continue the thinking about MEH and bass extension that I broached above: the K-402-MEH-sized horn can get almost three octaves of bass response extension below that which would be expected using exponential horns having the "1/4 wavelength internally" rule, but the MEH only does this in home-sized listening rooms that are not too big (i.e., the MEH can couple acoustically to the walls, floor and ceiling of the home listening room if they are not too far away from the horn mouth at 40-170 Hz and below), and not too small (such that the largest dimension of the room is below the MEH's roll-off frequency after EQ). My posting of performance of the MEH down to 17 Hz is not a mirage: it's real, and it can act as its own subwoofer (subject to the understanding that FM distortion due to its increased bandwidth is a tradeoff factor). By placing the K-402-MEH in the center location in a room sized for deep bass extension, I avoid having to use a subwoofer underneath it. A subwoofer can be used with it--no problem. But it's nice to know that it isn't required if the MEH is in 1/4-to-1/8th loading in room at the loss of horizontal directivity of the horn's mouth. If you had five of the K-402-MEHs in surround sound (5.1, etc.) around the listening position, my guess is that you probably wouldn't need subwoofers, if the room isn't too large (two dimensions--like width and height, or width and length, etc.). You would have a surround array of subwoofer-capable loudspeakers that could be used instead. YMMV. Chris

There is a guy just down the road from me who also served in the same Airborne unit I served in, but he was there about a decade before I was. He makes custom hunter/skinners, but only for auction to Airborne association reunions....so as to get more money into their association coffers. His work is more than respectable, and I have one of his blades...I think he actually starts out with leaf springs from very old trucks...which tend to make great-edge-holding blades, that will not get damaged from prying with them...high carbon spring steel! He re-forges them some, but they are still basically the same steel the springs started out as. They too, WILL RUST, if not taken care of, but they make GREAT practical user knives...which is what I personally prefer in a knife! I have another old Airborne buddy who specializes in holsters and sheathes...and his work is simply outstanding! When we had a retiring LTC from the ROTC program I worked at...I talked to the rest of the gang about getting him one of the holsters for his retirement/departure gift. Her is a pic of what he received...simply amazing work! I designed the lay-out of things, based upon the LTC's military experience...and when I presented it to him, his eyes teared up! Anybody interested in the holsters or knife sheaths...just google "Clever Action Holsters" You won't be disappointed in what you get for a very reasonable cost!

My father was a career Army food service warrant officer, retiring in Jan 1964, with over 27 years of service. I use what he used, and, if I use something different, he was the one who told me it was great stuff, otherwise I would never have bought it. So...what do I use? I am a hunter, and I have always "processed" my meat myself, so I have a standard kit for initial butchering and quartering and such for large game. The skinning knife is an old school Schrade sharp finger, made back when all of them were USA-made. I got mine in the early 1970's. For initial butchering and quartering and such, I use TWO knives...both of which are high-carbon and both of which are "Old Hickory" brand forged steel. One is a standard butcher knife, while the other is a medium length boning knife. These were also purchased new in the early 1970's. So, my kitchen knives are all of one brand and same series....with stainless high carbon steel blades, forged in the USA, and purchased over about a decade (late 1980's thru mid 1990's), initially in a large set, but I also added every single one of them in that series over the next few years. And, that is LOTS of cutting instruments, because the Walnut Traditions line of Chicago Cutlery was the largest collection out there!...from ANYBODY! I will never have a need for more knives than I already have for game and food preparation< TRUST ME on THAT! I use only Arkansas stones for sharpening stones, and have both a ceramic and steel chef's sharpening steel for them. What do I carry in the woods when hunting? Buck Folding hunter...from back in the day when I was a young paratrooper. What is my pocket knife? "Mauser" labelled Victorinox-made "Swiss Army Knife" with everything I NEED on it. If I had known how valuable this particular knife would become on the collector's market, when I bought it for 12 bucks in 1986, I would have bought every one there at Ranger Joe's! It was a promotional knife for a Mauser changeable barrel bolt action rifle, that didn't exactly sell as well as Mauser hoped it would when it first came out! Not very many of these knives were made to begin with! Ranger Joe's bought up the remaining inventory after the Mauser promotional time limit expired, and a couple of cases were on clearance when I bought mine! Do I have other knives??...yes, many of them, mostly just for investments for the future, though. My collectible passion is sailor knives...most only have sheep's foot blade with marlin spike! I have some really nice and rare ones in NIB condition! What do I think of Gerber knives? They hold an edge for a decent time, BUT the steel edge is too hard, and chips easily! I prefer an older Buck to them! Never had a USA-made Buck blade edge chip, yet!

And that, my friends is how the "First Annual Arkansas Jam" went belly-up, never to be heard about again. Some people never learn to WAIT, like they are told to do! 5,000 watts input...OMG!

It is about a 98% probability that I built these two Cornwalls. First off, there would be no outer veneer of FIR, on even the CBR or CDBR models at the time these were built. We had been using custom-laid birch cabinet plywood for a number of years already. Since these were miter-jointed cabinets, the actual box panels were shipped to us already veneered in fine veneer...with the substrate under that veneer being poplar-lumber-core plywood BTW..."CFB" stands for Cornwall, Flat-Black. Which was what these were shipped from the factory as. The labels were applied after the final assembly was completed, right before testing. So, when final assembly got the boxes, they were already painted flat black, so that is what they wrote on the labels: CFB If they had been CB ones...they would have easily seen that because they would have been built without mitered corner joints, because the birch ones had nailed together butt-joints instead of mitered joints. If they had been CB (birch) series, the label would have read "CBFB". As for the K43 woofers found in them, some customers wanted the "industrial" K-43 instead of the regular standard K-33...but there is ALSO the possibility that the K-33's had been replaced with K-43's at some point in time after they shipped.

Drive or fly out, rent a large u-haul box truck/moving van...load them up and drive them home. If you drive out, then tow your car behind the truck on the way home. You can also palletize them and have them shipped to you...I recommend using ABF freight for that. But either way...you will have to locally pick them up and have at least one person go with you because the MWM woofers are pretty heavy....even the split versions like these are.

When idiot-sticks hunt on other people's privately-owned timberland, they have absolutely no respect for being allowed to do that...so all of mine is posted to keep them out. You would not believe how many careless hunters just shoot up the trees on the land of others! This drops the price received from sawmills for timber every time a bullet in the wood is hit by the saw! It really ticks me off, too! That is money lost on the entire sale just for ONE bullet!

Also a PWK tongue-in-cheek true statement...JIM, did you ever ask him which skirmish it was during that battle?😉

PWK used to say he had fought in he Battle of Southwest Proving Grounds during the war....which was tongue-in-cheek true!

: MDF replaced Lumber-core plywood for finely-veneered panels for the Klipsch speakers over 2 decades ago. This is lumber-core plywood...which is what the finely-veneered panels on the K-horn were made-of when his K-horns were built...and the lumber in that core was POPLAR: This flyer gives views of the three different K-horn styles of builds, B, C, and D-styles of builds:

You are looking at two or more different cabinet builds, and thinking they are all the same...There was D-style, C-style, and yours which are B-style! All different specific buids and each priced differently....with B-style the most expensive of them all! B-style has a trap panel pon thope of the bass bin...then another one atop that but with a collar between the two...then the very top trap panel. C-style has one trap on the top pof the bass bin...NO CLLLAR AT ALL, and another trap above that one with sides connecting the two traps...one above the other...only the bottom trap is NOT removeable...the rest is! D-style is no trtaps at all...the bass bin front panel actually extends upwards to become the motor-board for the H/Fsection...no removeable wood above the bass bin body , itself! I'm leaving the rest of your questions for JRH to answer...over an hour of typing your answers already and that is enough FOR ME...good night! .

Just google "poplar lumber-core plywood" pics...and you will know what you have...too easy, right?

Not really...I prefer bare wire connections, myself...just remove them, clean them up good and get any crud off of them and clean up the machine screw threads and threaded inserts... on them! Replace the connectors, Hook up all the wires, tighten all the screws snugly, and it's rock'n'roll time! I don'lt get hung up on all the cable and terminal yakkety-yak very much, mostly because I know that each and every additional connection (can you say SPLICE???) causes more loss of signal energy getting from point A to point B, due to resistance created from "splicing". It is what it is! Each additional transition along the line also acts as a splice, resistance-wise! Any electrician can tell ya that! GOLD-PLATED fancy connectors at wired ends or not! The addition of them equals at least one additional "splice" in the line! Since they are so old, I would suggest cleaning up all the wired connections everywhere...at crossovers, and also at drivers if not soldered! Get rid of all of that electrical resistance that has accumulated over the years! It DOES MAKE A DIFFERENCE! Check your network can-style capacitors for leakage before firing them up! If any are leaking they all need to be replaced first FOR SURE!

Sorry, Wrong on both accounts. The finely-veneered panels on YOURS are ACTUALLY poplar-lumber-core-plywood, finely-veneered on one side, and birch veneered on the other...which was also delivered with fine-veneer edge-banding already attached where edges are visible from the front of the speakers when properly installed into room corners.so are the top-hat side panels and the bass bin front panel. The bottom panel of the bass bin will be approximately 1/2" thick Baltic Birch plywood, because it was assembled separately as a bass bin "wing assembly", originally! IIRC, Your K-horns will also ONLY have three SOLID wood pieces in each bass bin! One will be the "splitter" which is mounted to the inside of the front panel of the bass bin, opposite from the compression slot of the woofer motor-board...the other two will be reinforcing blocks for POSITIVE-LONG-TERM-construction assembly for the upper and lower "wing assemblies" which make up portions of the two rearward-bends of the bifurcated Bass horn lens....you can see all of these three solid wood pieces if you open the woofer access door...and look upwards , then downwards to find the pair of reinforcement blocks...then remove the woofer and look thru the compression slot of its motor-board and you will see the "splitter" in front of it...mounted to the bass bin front panel's back side. . Trust me, they will al be there, as mentioned, I outta know! I fabricated all of them during that time era method of K-horn production! Other than those three items, everything else "wooden" in your K-horns is either poplar-lumber-core plywood, Baltic birch plywood, OR cabinet-grade custom-ordered 3/4 inch birch plywood. Anything else is one of two types oi glue, or a mixture of the metal stuff: screws, finishing-nails, staples, and T-nuts. EDIT: Sorry, I forgot!....I left out two more solid wood pine or fir pieces of 2/4 lumber per K-horn...they are at each end of the top-hat H/F motor-board...just look into the rear of the top-hat and you can see them...one on your left, the other to your right...with grill cloth wrapped around them and then stapled to them.

Here in France, I have a SLI50 for 20 years, what a beautiful amplifier very reliable

I left my house again , can´t stand it there anymore because of continuing troubble w/the wife. Living by a good friend of mine in a neighbor town for a while. Due to my accident at work approx. 2 month ago I can´t work and beeing ill still. Have to look for an appartment as intended a couple of month ago. When I´m in better physical condition I have to find a new job as well. Things aren´t that funny here. Happy that my friend welcomed me with open arms and heart, he´s got a brilliant home audio system as well . This friendship is more than 40 years old . If the accident at work had not happened, I would have a new apartment long ago. My marriage is now finally over, I had in the summer still hope that my wife and I find together again, this hope I have now finally buried. You will hear less from me in the coming months, but I'll keep you up to date, I promise 🙂